In occasion of Artissima Fair, Cripta747 curated ALT, a four days show at Circolo Sottufficiali dei Carabinieri Caserma Ettore De Sonnaz, a group show including works by Ugo Alessio, Giulio Delvè, Jason Dodge, Daniel Faust, Gianni Ferrero Merlino, Birgit Megerle, Bruce Nauman, Kirsten Pieroth, Man Ray, Patrick Tuttofuoco, Lawrence Weiner, Italo Zuffi. Cripta747 members thought about the changes that have affected the city in the last twenty years, how they have been conceived as a vector of progress and improvement. The reclamation of abandoned areas, the transformation of neighborhoods, squares and of all the places we live in, change the relationship with the city and our perception of it. This new vision seems to be a fundamental legacy of the transformation process, a characteristic likely connected with architecture but definitely immaterial. They have imagined a landscape of moments in which the presence, absence of human being, the main protagonist of this change, is highlighted.
The space between the works and the contents are organized to return an unresolved and smoky picture, a corollary of clues that are not yet able to make a proof. An ongoing investigation. Intimately torn between progress and preservation, we face a feeling of loss and inadequacy, sometimes even of anger, while the things around us change, and sometimes we happily welcome the news. In this impasse, and in this desire to deal with a doubt, we are thinking of physical and immaterial, reality and fiction, logic, poetry and so forth, pulled first on one side and then on the other. Ugo Alessio’s Torino is a naturalistic work, focal point of the main entrance; in the former bar of the Caserma stands an imaginary portrait of the city, made in 1950, an intense and evocative landscape drawn with pastels, and lately purchased by Cripta747 as part of their permanent collection. Italo Zuffi’s Gli Ignari (The Unsuspecting), 2013, consists of a double series of handmade friendly ceramic pods, lined up and hung on two walls of the Caserma, with two MP3 players and speakers, regularly whistling and apparently carefree, flaunting tranquility during the visitors’ passage.
Birgit Megerle’s Altglas and Female Pleasure, 2012, focus on the perception of the status of women in the history of painting. Influenced by traditional feminist thought, from recent speeches about gender representation, Megerle’s work subverts the stereotype of the objectified body through iconic reproduction techniques of the object. PatrickTuttofuoco’s work stems from the need to deal with the changes in the urban context, mutations in consumption, and the permeability of the art system. In this sense the mask Charles, 2009, and the Untitled neon, 2014, are a narrative dynamic created using symbols from everyday life, and filling them with different qualities and thus investigating the processes of cultural change today. Daniel Faust collects museum photographs since 1980, museum about the most popular and disparate themes, like in this case, the photos from Arizona Mining and Mineral Museum (Phoenix) 1992, Musee Valentin Hauy, (Paris) 1991 and Musei Vaticani (Roma) 1998. There is no morality in the vision installed in this former billiards room. Faust snaps in the museum, choosing a detail that a visitor may have noticed as incomprehensible, ridiculous, inadequate, inconsistent or excessive; or nice, but for “other” reasons.
Bruce Nauman’s Violent Incidents, 1986, continually puts on stage the theme of the rise of passion in all its forms. The tranquility of a casual dinner, but trivial, is suddenly interrupted by an escalation of violence. The hypnotic repetition of gestures unnecessarily cruel and destructive, that is both seductive and alienating, is transferring aggression in an eternal present. Nauman’s work originates from frustration and anger resulting from a reflection on the human condition, about the miscommunication between individuals and how people refuse to understand others. Room by room we also saw works by Giulio Delvè, Jason Dodge, Kirsten Pieroth, Man Ray and Gianni Ferrrero Merlino, then we finally arrived at the ballroom, that opens up on a terrace on the courtyard where a Lawrence Weiner’s piece is installed: Passed Over. Over passed, 1971. Weiner uses the word radically as primary expressive medium, producing works in the form of short sentences that interact with a given space, whether it is an exhibition or a public space.